The Wall
by lanesully15
Summary: A script for a stage adaptation of Pink Floyd's album/rock opera I'm writing. The story is about a burnt-out rock star who builds an emotional and psychological wall between himself and society based off of the traumatic experiences in his past. I own some character names, some new dialogue, and the staging. The rest goes to Pink Floyd front man Roger Waters. Read & review, please!
1. Scenes and Characters

**Scenes**

Prologue – When the Tigers Broke Free Pt. I

Act I

In the Flesh?

The Thin Ice

Another Brick in the Wall Pt. I

When the Tigers Broke Free Pt. II

The Happiest Days of Our Lives (plus movie and new dialogue)

Another Brick in the Wall Pt. II

Goodbye Blue Sky

Mother (with wife dialogue)

Empty Spaces or What Shall We Do Now (still debating on which to use)

Arrival in America (not a song, but a scene that leads into the next song)

Young Lust

One of My Turns (plus dialogue)

Don't Leave Me Now

Another Brick in the Wall Pt. III

Goodbye Cruel World

Act II

Hey You

Is There Anybody Out There?

Nobody Home

Vera (flashback)

Bring the Boys Back Home (flashback)

Comfortably Numb (with dialogue)

The Show Must Go On

In the Flesh

Run Like Hell

Waiting for the Worms (yes, with hammers!)

Stop! (some of Brain Damage included)

Finale - The Trial

Epilogue - Outside the Wall

**Characters**

Pink – A burnt out rock star who has made a lot of bad choices in his life. Builds a mental wall between himself and society due to his past, his constant drug abuse, and his mental stability. His real name is Floyd Pinkerton.

Fascist Pink – The culmination of the wall, a hallucination Pink has that is a result of all the pain in his life.

Young Pink - Pink at age 6

Kid Pink - Pink at age 10

Pre-Teen Pink - Pink at age 12.

Winifred Pinkerton – Pink's overprotective and possessive mother. She tries to shield him from the outside world, so he won't end up like his father. She causes the first set of bricks to be built onto Pink's wall.

Wall-Winifred – A manifestation of Pink's mother from his wall; stereotypical English mother-look. Witness #3.

Gwendolyn Pinkerton (nee Rees) – Pink's eventual wife. Pink stops communicating with her and she to hum in return. He tries to return to her, but it's too late. Causes the last set of bricks to be built in the wall.

Wall-Gwendolyn – A manifestation of Pink's wife from his wall. Giant scorpion/praying mantis hybrid. Witness #2.

Edward O'Dwyer – A strict Irish schoolmaster who ridicules and oppresses the students, especially Pink. He causes Pink to build another set of bricks in his wall.

Wall-Edward – A manifestation of the Schoolmaster in Pink's mind; giant marionette controlled by his wife. Witness #1.

Jonathan Alexander Pinkerton – Pink's late father. Died in Anzio, Italy in 1944 during WWII. Along with his mother, causes the first bricks to be put in place.

The Judge – A representation of choice and force inside Pink's head. Very grotesque.

The Prosecutor – Charges Pink with "showing feelings of an almost human nature". Representation of elegance, order, and the British court system in Pink's head. Also grotesque.

Pink's manager – A man who has a lot on his plate. Gets tired of Pink's "episodes" but is used to them.

The Worms – A Beach Boys-sounding quartet of worms that represent all of the decay in Pink's head.

American groupie – Groupie that Pink takes back to his room with him.

Hotel manager – A man who is disgusted by Pink's drug abuse and free-loading. Conservative American,

Doctor – Drugs Pink for his concert.

Helena O'Dwyer – Edward's equally demented wife who pulls the strings of his attitude towards his students.

Father – A father of another child on a playground.

Chorus – Soldiers, children, frightened ones, teachers, fans, hammers (Pink's henchmen), jury, families, Nazi eagle, and prostitutes.


	2. When the Tigers Broke Free Pt I

**Prologue **

**When the Tigers Broke Free Pt. I**

Setting – Anzio, Italy, 1944. British bunker.

(The auditorium is almost completely dark. Lines of British soldiers silently and slowly move through the aisles and towards the stage. While doing this they hum a soft tune in unison, except one of them: JONATHAN, who has a lone light shining down on him. The humming becomes more prominent.)

JONATHAN: (singing)

_It was just before dawn, _

_One miserable morning in black 'forty four._

_When the forward commander was told to sit tight,_

_When he asked that his men be withdrawn._

_And the generals gave thanks, _

_As the other ranks held back the enemy tanks for a while,_

_And the Anzio bridgehead was held at a price,_

_Of a few hundred ordinary lives. _

(When JONATHAN finishes, the soldiers are already on the stage, and more light is added to the room. The soldiers are standing at attention.)


	3. In the Flesh?

**Act I - Scene I**

**In the Flesh?**

Setting - Concert, 1968, and Anzio, Italy, 1944.

(The soldiers are still standing at attention on stage when a battalion of Axis troops burst onto the stage and attack them as the music starts. An electric guitar plays a descending riff as an ecstatic crowd bursts through the auditorium doors and through the aisles towards the stage, but do not go onto it, while the guitar transitions into another welcoming riff.)

(Enter PINK from behind the stage on a platform near upstage center, with an electric guitar at his side. He props it up, and begins to play, while the battle still ensuing is halted for a moment and all of the soldiers completely freeze in place and position.)

PINK: (with background vocals)

_So ya thought ya,_

_Might like to go the show?_

_To feel the warm thrill of confusion, _

_That space cadet glow?_

_Tell me is something eluding you sunshine?_

_Is this not what you expected to see?_

_If you wanna find out what's behind these cold eyes,_

_You'll just have to tear your way through this disguise!_

(PINK plays the last riff on his guitar very powerfully and precisely as the battle resumes.)

LIGHTS!

(Pink Floyd-style light show.)

TURN ON THE SOUND EFFECTS!

(Loud SFX playing. Riff continues. Pinks puts his guitar down and paces.)

ACTION!

(Riff continues.)

DROP IT! DROP IT ON 'EM! DROP IT ON THEM!

(Instrumental coda. A sharp ascending pitch is heard, while PINK raises his hands slowly, as if he is directing a plane closer to the stage. Drum roll and sharp ending as a bomb is heard and a large, bright light flashes on the stage. We see dead soldiers and JONATHAN near death laying on his stomach, injured. PINK is on his platform on his knees, head down, eyes closed, and arms at right angles with hand open towards his head. No spotlight on him, but on JONATHAN.)


	4. The Thin Ice

**Act I – Scene 2**

**The Thin Ice**

Setting – Anzio, Italy, 1944, and Hotel Room, 1968.

(JONATHAN is still lying on the ground near downstage center. We hear a baby's cry as he pulls out a picture of his family from his uniform. He is near death. PINK is still on the platform above, in the same position.)

JONATHAN:

_Mama loves her baby,_

_And daddy loves you too,_

_And the sea may look warm to you babe,_

_And the sky may look blue,_

_But ooooh babe,_

_Ooooh baby blue,_

_Ooooooh baby._

(He dies and is pulled offstage. PINK raises his head and is surrounded by a little more light.)

PINK:

_If you should go skating,_

_On the thin ice of modern life, _

(He stands up and walk down from his platform.)

_Dragging behind you the silent reproach,_

_Of a million tear-stained eyes,_

_Don't be surprised when a crack in the ice,_

_Appears under your feet,_

_You slip out of your depth and out of your mind,_

_With your fear flowing out behind you,_

_As you claw the thin ice._

(A solo riff plays and PINK begins to convulse, shake, and have a major seizure across the stage's floor. At the end of the riff, he stops, stands up, and begins to walk offstage.)


	5. Another Brick in the Wall Pt I

**Act I – Scene 3**

**Another Brick in the Wall Pt. I**

Setting – London, England, 1944 (with PINK added).

(A boy and his mother, WINIFRED, come onstage. As PINK is walking off, he looks back towards the boy and goes over to stand behind him. The boy is now revealed to be YOUNG PINK. The boy is not focusing on anything but his toy plane.)

WINIFRED: (to YOUNG PINK)

_Daddy's flown across the ocean…_

_Leaving just a memory _(with PINK)

PINK (to YOUNG PINK, distraught):

_A snapshot in the family album,_

_Daddy, what else did you leave for me?_

(WINIFRED kisses her son goodbye so she can go to the shops. YOUNG PINK hands her his toy plane.)

_Daddy, what d'ya leave behind for me?_

(PINK begins to leave, and looks back towards WINIFRED.)

_All in all it was just a brick in the wall._

(Exit PINK, then WINIFRED. Enter children and families, playing. YOUNG PINK sees a FATHER playing with his son and walks over to play with them. The FATHER notices him.)

FATHER: Where's your mommy?

YOUNG PINK: She's gone to the shops.

(The FATHER picks up his son and takes him to another part of the stage. YOUNG PINK follows him, and pulls on his coat.)

FATHER: Shoo! Go away you little bugger!

(YOUNG PINK is now sad.)

YOUNG PINK: All in all it was just bricks in the wall.

(Exit YOUNG PINK and the children and families. We see a white wall with bricks being built in far upstage left.)


	6. When the Tigers Broke Free Pt II

**Act I – Scene 4**

**When the Tigers Broke Free Pt. II**

Setting – Pink's home, Surrey, England, 1948.

(The curtain opens to KID PINK walking into a room very curiously, not knowing what is inside, and looks around. The soldiers from the prologue walk slowly in the aisles again and begin humming the same tune. The lights in the audience are dark.)

PINK (offstage VO):

_And kind old King George sent mother a note,_

_When he heard that father was gone._

(KID PINK opens a drawer to find old photographs, an army uniform, and a note. He picks the note up and reads it.)

_It was, I recall,_

_In the form of a scroll, with gold leaf adorned,_

(KID PINK begins to put on the large uniform, quickly.)

_And I found it one day,_

_In a drawer of old photographs, hidden away._

_And my eyes still grow damp to remember,_

_His Majesty signed,_

_With his own rubber stamp._

(KID PINK stares at a mirror with the uniform on him. PINK enters and stands beside the boy with the same uniform. They both begins to tear up. The humming is much more prominent, now. PINK begins to sing more powerfully.)

_It was dark all around,_

_There was frost on the ground, _

_When the tigers broke free,_

_And no one survived,_

_From the Royal Fusiliers Company Z._

_They were all left behind,_

_Most of them dead,_

_The rest of them dying._

With KID PINK:

_And that's how the High Command,_

_Took my daddy from me!_

(KID PINK breaks down in tears. Exit PINK and soldiers through the wings. Black out. Curtain.)


	7. The Happiest Days of Our Lives

**Act I – Scene 5**

**The Happiest Days of Our Lives**

(Enter PRE-TEEN PINK and his friends. They run around and cause mischief in the aisles and around the audience. The right half of the stage is set up like a classroom, while a small table with two chairs is placed on the left.

(Enter EDWARD and teachers on stage right.)

EDWARD: (To PRE-TEEN PINK) You! Yes, you! Stand still, laddie!

(Music starts. PRE-TEEN PINK and his friends run to the desks and take their seats. More children come in and take their seats, as well. EDWARD is talking with the other teachers.)

PINK: (offstage VO)

_When we grew up an went to school,_

_There were certain teachers,_

_Who would hurt the children any way they could._

(EDWARD walks into the classroom and whacks a kid in the back with a ruler.)

EDWARD: Alright, you little buggers, sit up straight and get to work!

PINK: (offstage VO)

_By pouring their derision upon anything we did,_

_Exposing every weakness,_

_However carefully hidden by the kids. _

(Music fades. EDWARD surveys the classroom and dead-eyes PRE-TEEN PINK writing a poem. He walks over to PRE-TEEN PINK, who is writing in a little black book, and notices his distraction.)

EDWARD: What have we here, laddie? Mysterious scribblings? A secret code?

(EDWARD picks up the book and looks through it.)

No – poems, no less!

(He raises the book up for all the students to see.)

Poems, everybody! The laddie considers himself a poet!

(The students laugh. EDWARD begins to read the poems.)

"Money get back/I'm alright Jack/Keep your hands off my stack."

(Students laugh again.)

"New car, caviar/Four star daydream/Think I'll buy me a football team."

(Students laugh again.)

Absolute rubbish, laddie!

(He smacks PRE-TEEN PINKS hand with his ruler.)

Now, repeat after me "An acre is an area of a rectangle whose length is one furlong and whose width is one chain."

(The students repeat what he says as he leaves the classroom to sit at the table on the other end of the stage. The students stay in their seats)

(Enter HELENA, EDWARD's wife, as she takes a seat at the small table. The music begins again.)

PINK: (still offstage)

_But in town it was well-known,_

_When they got home at night,_

_Their fat and psychopathic wives,_

_Would thrash them within inches of their lives._

(HELENA smacks EDWARD as the have been talking inaudibly. She is very commanding of EDWARD.)

CHORUS: (offstage)

_Oooooo…._

(Edward goes back to the classroom. Exit HELENA. The table and chairs are taken off.)


	8. Another Brick in the Wall Pt II

**Act I – Scene 6**

**Another Brick in the Wall Pt. II**

(EDWARD enters the classroom as the background vocals are still heard. The students are still in their seats. EDWARD smacks a student with a paddle, and the student screams. PRE-TEEN PINK stands up in the student's defense.)

PRE-TEEN PINK:

_We don't need no education!_

_We don't need no thought control!_

_No dark sarcasms in the classroom!_

_Teacher, leave them kids alone!_

(He moves over to EDWARD and pushes him away from the student.)

With STUDENTS:

_Hey! Teacher! Leave them kids alone!_

PRE-TEEN PINK:

_All in all, it's just another brick in the wall._

_All in all, you're just another brick in the wall._

(The desks are taken off. More students come in, of all ages and sizes. The march in a line. More teachers enter and try to deal with the students along with EDWARD. The students move into two lines. Facing towards the audience.)

EDWARD: Wrong! Do it again!

STUDENTS:

_We don't need no education!_

EDWARD (to a student): If ya don't eat your meat, ya can't have any pudding!

STUDENTS:

_We don't need no thought control!_

EDWARD: How can ya have any pudding if ya don't eat your meat?

STUDENTS:

_No dark sarcasms in the classroom!_

EDWARD: Poems, everybody!

STUDENTS:

_Teachers leave those kids alone!_

EDWARD (to another student): And you! You behind the bike sheds! Stand still, laddie!

STUDENTS:

_Hey! Teacher! Leave those kids alone!_

_All in all, you're just another brick in the wall!_

_All in all, you're just another brick in the wall!_

(A guitar riff begins to play as a large [fake] meat mincer is brought partly on stage. The students begin to march offstage as the meat mincer squirts out pink Styrofoam noodles. More bricks are added to the wall on far upstage right. Exit EDWARD and the other teachers. The machine is brought offstage.)


	9. Goodbye Blue Sky

**Act I – Scene 7**

**Goodbye Blue Sky**

Setting – London, England, 1944, and 1940 (with YOUNG PINK added).

(Bird chirping noises are heard, along with a distant airplane noise. Enter WINIFRED and YOUNG PINK. The stage is nearly empty, besides the white wall that is ¾ of the way built along downstage. The two walk across the stage.)

YOUNG PINK: (pointing up, in awe) Look, mummy, there's an airplane up in the sky!

(Exit WINIFRED and YOUNG PINK. Music starts, while a red light shines prominently onstage. Bombing sounds are heard. A beautiful actress dressed as a black eagle with Nazi symbolism on it dances across the stage slowly, referencing the Blitz of London in 1940)

PINK and CHORUS: (offstage)

_Ooooo…. _(repeats twice more)

(Enter the frightened ones, nearly naked men wearing gas masks on, walking like apes towards the stage. Nazi eagle is still dancing.)

_Di-di-di-did you see the frightened ones?_

_Di-di-di-did you hear the falling bombs?_

_Di-di-di-did you ever wonder why we had to run for shelter,_

_When the promise of a brave new world unfell beneath the clear blue sky?_

(The frightened ones come onto the stage and begin to run amok crazily. YOUNG PINK comes onto the stage as if he were lost. As he passes the Nazi eagle, the actress stops dancing, turns the boy around, bends down, and kisses him very passionately, symbolizing the fascism and Neo-Nazism that corrupts him in his hallucinations later in life. Exit the Nazi eagle and YOUNG PINK, holding hands together.)

_Ooooo…. _(repeats once)

(The frightened ones begin to dance in the way the eagle did.)

_Di-di-di-did you see the frightened ones?_

_Di-di-di-did you hear the falling bombs?_

_The flames are all long gone,_

_But the pain lingers on._

(The frightened ones begin to leave.)

_Goodbye blue sky,_

_Goodbye blue sky,_

_Goodbye,_

_Goodbye._

(Black out.)


	10. Mother

**Act I – Scene 8**

**Mother**

Setting – Hotel Room, 1968, England, 1967, and Pink's home, Surrey, England, 1940 (PINK's year of birth).

(Lights come on to PINK sitting on a chair in center stage with his acoustic guitar. He sighs and begins

PINK: (while playing guitar)

_Mother, do you think they'll drop the bomb?_

_Mother, do you think they'll light the sun?_

_Mother, do you think they'll try to break my balls?_

_Ooo…ahh. _

_Mother, should I build a wall?_

(PINK stands up. Background music added.)

_Mother, should I run for president?_

_Mother, should I trust the government?_

_Mother, will they put me in the firin' line?_

_Ooo…ahh,_

_Is it just a waste of time?_

(PINK exits and stops playing. Guitar played in the background now. Enter WINIFRED with a wrapped up baby doll that represents PINK. She sits in the chair PINK sat in and rocks the baby.)

WINIFRED: (while rocking the baby)

_Hush, now baby, baby, don't you cry._

_Mama's gonna make all your nightmares come true,_

_Mama's gonna put all of her fears into you,_

_Mama's gonna keep you right here under her wing,_

_She won't let you fly, but she might let you sing,_

_Mama's gonna keep baby cozy and warm._

_Oooo baby, _

_Oooo baby,_

_Oooo baby, of course mama's gonna help build a wall._

(Exit WINIFRED, but the chair is left onstage. A guitar solo is heard as PINK and GWENDOLYN enter. They begin to dance slowly.)

PINK:

_Mother, do you think she's good enough for me?_

_Mother, do you think she's dangerous? Tell me,_

_Mother, will she tear your little boy apart?_

_Ooo…ahh._

_Mother, will she break my heart?_

(Enter WINIFRED with the baby PINK again. She sits down in the chair and rocks him.)

WINIFRED:

_Hush now, baby, baby, don't you cry._

_Mama's gonna check out all your girlfriends for you,_

_Mama won't let anyone dirty get through,_

_Mama's gonna wait out until you get in,_

_Mama will always find out where you've been,_

_Mama's gonna keep baby healthy and keen._

_Oooo baby,_

_Oooo baby,_

_Oooo baby, you'll always be baby to me._

(Background music stops. Exit WINIFRED, and enter PINK with his guitar as he sits in the chair and plays.)

PINK:

_Mother, did it need to be so high?_

(He keeps playing and soloing as GWENDOLYN enters. She notices PINK, but he is looking down to his guitar.)

GWEN: Hello? Is there anybody in there?

(PINK keeps playing, and then stops and looks up at his wife, but barely notices anything.)

Remember me? I'm the one from the registry office.

(PINK looks down at his guitar and begins to play again. GWENDOLYN leaves in a bad mood. Black out. Curtains.)


	11. Arrival In America and Empty Spaces

**Act I – Scene 9**

**Arrival in America/Empty Spaces**

Setting – New York City, USA, 1968.

(Airplane sounds are heard. Enter PINK and PINK's MANAGER. The stage is empty besides the wall, a pole, and a payphone attached to it.)

PINK: I hate flights.

MANAGER: Why? You get high every bleedin' night!

PINK: Fuck you. I shouldn't even be here. I hate tours.

MANAGER: That's interesting. The whole bloody place reeks of protest and pot. I'd think it'd be right up your ally, Floyd.

PINK (yelling): My name is not Floyd! I'd rather be called Pink Floyd than Floyd Pinkerton, so me bloody mum doesn't come poking her arse into my life again.

MANAGER: Sounds like a good band name.

(PINK and PINK's MANAGER pause for a moment, and do a take to the audience.)

PINK: Mate, never say that again, and especially not in the largest city in the world. I don't want to have to sue for copyright. In fact, the last thing I want to do is sue someone. The only one I'd like to put on trial is myself…

(He lowers his head in sudden deep thought.)

MANAGER: Uh... Pink?

PINK: What? Er…what? It's nothing…. just nothing. Go to a hotel and get me a flat, would you? I have to make a call.

MANAGER: You what? You're not calling HER again? No. You are too fucking desperate, mate.

PINK: That's why I have to reach out harder.

MANAGER: You'd better make bloody haste!

(Exit PINK's MANAGER. PINK goes to the payphone and calls his wife's number. I rings and picks up.)

MAN: Gwen, I've got it… Hello?

(PINK is now distraught. He hangs up the phone and falls down seated with his back to the pole in defeat. Music starts.)

PINK:

_What shall we use,_

_To fill the empty spaces,_

_When we used to talk?_

_How shall I fill,_

_The final places?_

_How shall I complete the wall?_

(PINK stands up in defiance.)

PINK: The bitch deserves payback.


	12. Young Lust

**Act I – Scene 10**

**Young Lust**

(PINK is still standing up, when prostitutes and groupies enter the stage, dancing near and around PINK, who is enthralled by them. He begins to dance with them.)

PINK:

_I am just a little boy,_

_Stranger in this town,_

_Where are all the good times?_

_Who's gonna show this stranger around?_

(One of the prostitutes dances around the pole, strip club style.)

PINK with GROUPIES and PROSTITUTES:

_Oooo...I/you need a dirty woman,_

_Oooo…I/you need a dirty girl._

(The girls make a half-circle behind PINK, while they all are still dancing.)

PINK:

_Will some woman in the desert land,_

_Make me feel like a real man?_

_Take this rock n' roll refugee,_

_Ooooh baby set me free._

(A GROUPIE comes up to PINK.)

With GROUPIE:

_Oooo…I/you need a dirty woman,_

_Oooo…I/you need a dirty girl._

(PINK and the GROUPIE dance passionately as the other groupies and prostitutes leave.)

_Oooo…I/you need a dirty woman,_

_Oooo...I/you need a dirty girl._

(Black out. PINK and the GROUPIE exit, while the pole is taken off. Phone sounds are heard.)


	13. One of My Turns

**Act I – Scene 11**

**One of My Turns**

Setting – Hotel Room, 1968.

(Lights come on to the stage only filled by the wall, PINK's guitar in a case, a television near center stage facing stage left, and a chair to the televisions right facing the screen. Enter PINK and the GROUPIE from where they exited. PINK sits on the chair and turns on the television. A film is heard in the background. PINK lights up a joint. The GROUPIE wanders around the room.)

GROUPIE: Oh my God! What a fabulous room! Is this your guitar?

(PINK ignores her.)

This place is bigger than my apartment!

(She wanders some more.)

Um…Can I have a drink of water?

(PINK still ignores her. She leaves the stage for a moment.)

You want some, huh?

(PINK is almost hypnotized by the screen.)

Oh, wow! Look at this tub! Do you wanna take a baaath?

(The GROUPIE comes back onstage with a cup in her hand. She walks over to PINK.)

What are you watching? Hello? Are you okay?

(PINK begins to sing somewhat softly. He is very high.)

PINK:

_Day after day, love turns grey,_

_Like the skin of a dying man._

_Night after night, we pretend it's alright,_

_But I have grown older and,_

_You have grown colder an,_

_Nothing is very much fun anymore._

_And I can feel one of my turns coming on._

_I feel cold as a razor blade,_

_Tight as a tourniquet,_

_Dry as a funeral drum._

(The GROUPIE begins to back away from PINK slowly. He stands up and begins to go crazy and THE GROUPIE screams and runs off stage. PINK throws things on the stage around.)

PINK: (loudly)

_Run to the bedroom,_

_In the suitcase to the left,_

_You'll find my favorite axe._

_This is just a passing phase,_

_One of my bad days._

_Would you like to watch TV?_

_Or get between the sheets?_

_Or contemplate the silent freeway?_

_Would you like something to eat?_

_Would you like to learn to fly?_

_Would'ya?_

_Would you like to see me try?_

(PINK throws the chair and the guitar into the stage's pit or into the wings, depending on the type of stage.)

_Would you like to call the cops?_

_Do you think it's time I stopped?_

_Why are you running away?_

(PINK throws the television offstage.)

TAKE THAT, FUCKERS!

(PINK is in a daze. He goes up to the somewhat finished wall and sits up against the left side of it. The middle section of the wall is still not built.)


	14. Don't Leave Me Now

**Act I – Scene 12**

**Don't Leave Me Now**

Setting – Hotel Room, New York City, USA, 1968.

(PINK is still sitting up against the wall. He is smoking a large joint, which is obviously a prop. PINK is still in a daze and in depression from the GROUPIE's leave.)

PINK:

_Ooooh babe, don't leave me now,_

_Don't say it's the flowers I sent._

(A shadow film is projected onto the wall to PINK's left. A woman representing GWENDOLYN is shown, standing straight and motionless.)

_I need you, babe,_

_To put through the shredder in front of my friends._

_Ooooh babe, don't leave me now,_

_How could you go?_

_When you know how I need you, _(echoes)

_To beat to a pulp on a Saturday night._

_Ooooh babe, don't leave me now,_

_How can you treat me this way, runnin' away?_

_Oh babe, why are you running away?_

(The shadow figure changes in shape to a praying mentis/scorpion hybrid. PINK is scared of it and runs to a corner on the opposite side of the stage. The creature is dormant to that side, because the middle and final part of the wall is not built yet.)

_Ooooh babe _(repeats five times)

_Ooooh._

(PINK stands up from the corner, and decides to confront the creature.)


	15. Another Brick in the Wall Pt III

**Act I – Scene 12**

**Another Brick in the Wall Pt. III**

(Sounds of windows breaking are heard. PINK tries to face the shadow creature but still tries to keep some distance. The creature flinches.)

PINK:

_I don't need no arms around me!_

_And I don't need no drugs to calm me!_

_I have seen writing on the wall._

(The creature is more afraid of PINK now. It begins to slowly shrink, as if the wall itself is sucking it in.)

_Don't think I'll need anything at all._

(The creature is now much smaller.)

_No! Don't think I'll need anything at all._

(Exit PINK. The creature has completely disappeared. The final bricks are beginning to be put in place.)

(Offstage)

_All in all, it was just a brick in the wall._

_All in all, you were all just bricks in the wall!_

(The stage lights slowly dim. There is only one brick left – one in the exact middle of the wall.)


	16. Goodbye Cruel World

**Act I – Finale**

**Goodbye Cruel World**

(The stage is still very dim, with a soft blue light shining on it. There is still one brick missing from the wall. PINK appears in the small visible crevice.)

PINK:

_Goodbye cruel world,_

_I'm leavin' you today._

_Goodbye,_

_Goodbye,_

_Goodbye,_

_Goodbye all you people,_

_There's nothing you can say,_

_To make me change my mind,_

_Goodbye._

(The final brick is placed in the wall. Black out. Curtain. End of Act I.)


	17. Author's Note

**Author's Note**

Hi, kids! Hope you are enjoying this little vision of mine. Right now, we're at the halfway mark, the "Entr'acte", if you will. To those of you who may be reading this script, I thank you! This album and music has played an important part in my growing up and my cultural opinionating. For those of you who are not familiar with the work of Pink Floyd, Roger Waters, or Alan Parker's 1982 masterwork of a film (that, in addition, the late film critic Roger Ebert, gave a thumbs up and added to his favorite movies of all time), I sincerely regard to you that I am not racist, and you have nothing to fear from me, because Act II has some very prejudiced parts to it. It's very different from the first, but it's actually better, much better in my mind actually, but don't let the vulgarity and racism get to your head when you read the next scenes. I'm not going to write this week most likely, unless I really, really want to, because I have to focus on college work. Have good days, everyone, and above all…..GET YOUR FUCKING BACKS UP AGAINST THE WALL! AMERICA!

See ya,

Sully.


	18. Hey You

**Act II – Scene 1**

**Hey You**

Setting – Metaphorical state, possibly PINK's mind, 1968 (with JONATHAN added.)

(An iconic guitar solo plays as the lights come on and the curtains open to an empty stage except for the wall. PINK is standing behind the wall.)

PINK: (behind the wall VO)

_Hey you,_

_Out there in the cold, _

_Getting lonely, getting old,_

_Can you feel me?_

_Hey you, _

_Standing in the aisles, with itchy feet and fading smiles,_

_Can you feel me?_

(Enter JONATHAN, who walks up to the wall.)

JONATHAN:

_Hey you,_

_Don't help them to bury the light,_

_Don't give in without a fight._

(Enter WINIFRED, who walks up to the wall alongside JONATHAN.)

JONATHAN and WINIFRED:

_Hey you,_

_Out there on your own, _

_Sitting naked by the phone,_

_Would you touch me?_

PINK and WINIFRED: (behind the wall VO)

_Hey you,_

_With your ear against the wall, _

_Waiting for someone to call out,_

'_Would you touch me?'_

_Hey you,_

_Would you help me to carry the stone? _(JONATHAN harmonizes on 'stone')

JONATHAN:

_Open your heart,_

_I'm comin' home_.

(Exit JONATHAN. A more vicious guitar solo starts as WINIFRED sits sadly up against the wall. The lights change colors many times as WIIFRED begins to break down in sadness. Enter FASCIST PINK, who walks over to the distraught WINIFRED. Lights return to normal.)

FASCIST PINK:

_But it was only fantasy,_

_The wall was too high, ass you can see._

_No matter how he tried,_

_He could not break free._

FASCIST PINK and PINK (who are separate actors who resemble each other.)

_And the Worms ate into his brain._

(Exit FASCIST PINK. The lights begin to change colors again as the iconic guitar solo from the songs beginning plays again. THE WORMS walk slowly across the stage, Abbey Road-style.)

PINK: (behind the wall VO, louder and higher.)

_Hey you,_

_Out there on the road, always doing what you're told,_

_Can you help me?_

_Hey you,_

_Out there beyond the wall,_

_Breaking bottles in the hall,_

_Can you help me?_

With WINIFRED:

_Hey you,_

_Don't tell me there's no hope at all!_

PINK only:

_Together we stand, _

_Divided we fall._

(Black out. Exit PINK and WINIFRED.)


	19. Is There Anybody Out There?

**Act II – Scene 2**

**Is There Anybody Out There?**

(The lights com on to a television and chair in the same position they were in earlier, with PINK sitting in the chair watching television and smoking a joint. We hear television channels play when the music starts. PINK is in a daze.)

PINK: (with background vocals)

_Is there anybody out there?_

(TV sounds are heard.)

_Is there anybody out there?_

(Sharp electric guitar notes are heard.)

_Is there anybody out there?_

(Background vocals are more prominent.)

_Is there anybody out there?_

(The guitar noises and music stop as a long classical guitar solo is heard as the TV sounds are still heard.)


	20. Nobody Home

**Act II – Scene 3**

**Nobody Home**

(The last scene goes straight into this one as TV sounds are still heard.)

MAN ON TV: I've got a little black book with me poems in!

(Piano opens song as TV sounds faintly continue. PINK begins to trip on acid.)

PINK:

_I've got a little black book with my poems in,_

_Got a bag, got a toothbrush with a come in,_

_When I'm a good dog, _

_They sometimes throw me a bone in._

_I've got elastic bands keeping my shoes on,_

_Got those swollen hand blues,_

_I've got thirteen channels of shit on the TV to choose from._

_I've got electric light,_

_And I've got second sight_

(PINK stands up.)

_I've got amazing powers of observation_

(PINK extends his arms and spins around, smiling. He sits down on the floor. He then lays down, Playboy-style, facing the audience.)

_And that is how I know,_

_When I try to get through,_

_On the telephone too you,_

_There'll be nobody home._

(PINK sits up again.)

_I've got the obligatory Hendrix perm,_

_And the inevitable pinhole burns,_

_All down the front of my favorite satin shirt._

(PIINK looks down at his shirt. He looks back up.)

_I've got nicotine stains on my fingers,_

_I've got a silver spoon on a chin,_

_I've got a grand piano to prop up my mortal remains._

(PINK stands up.)

_I've got wild staring eyes_

(PINK extends his arms.)

_And I've got a strong urge to fly_

(PINK puts his arms down and sags his way over to the chair to sit on it.)

_But I've got nowhere to fly to_ ('fly to' is echoed through use of SFX.)

_Ooooh babe, when I pick up the phone,_

_There's still nobody home._

(PINK stands up and begins to leave. He sings as he walks offstage.)

_I've got a pair of Gohills boots,_

_And I've got fading roots._

(Black out. The TV and chair are both taken offstage as the music fades.)


	21. Vera

**Act II – Scene 4**

**Vera**

Setting – Area unknown, 1944.

(The stage is dark, and the curtains close. We still hear TV sounds when the music starts. Enter JONATHAN in front of the curtains. He paces and addresses the audience. A lone spotlight shines on him.)

JONATHAN:

_Does anybody here remember Vera Lynn?_

_Remember how she said that we would meet again,_

_Some sunny day?_

(JONATHAN walks down into the aisles, with the spotlight still on him. He walks slowly towards the back exit doors.)

_Vera! Vera! What has become of you?_

(Before leaving, JONATHAN turns back towards the audience.)

_Does anybody else here feel the way I do?_

(Exit JONATHAN.)


	22. Bring the Boys Back Home

**Act II – Scene 5**

**Bring the Boys Back Home**

Setting – May 8, 1945 (Victory in Europe Day), London, England.

(Soldiers march down the aisles with drummer boys leading them at a marching beat. The curtains open to a large crowd of families, celebrating the victory in the war and anxiously awaiting for soldiers' return. The music begins, and the chorus is led by an operatic tenor/baritone male vocal. YOUNG PINK, with his toy plane, and WINIFRED are seen in the crowd, but they do not sing. WINIFRED is saddened.)

CHORUS (with male lead the most prominent):

_Bring the boys back home!_

_Bring the boys back home!_

_Don't leave the children on their own! No! No!_

(By that time, the soldiers are filed in on stage along with the chorus.)

_Bring the boys back home!_

(The chorus and soldiers exit and the stage turns dark as the background music is still heard.)


	23. Comfortably Numb

**Act II – Scene 6**

**Comfortably Numb**

Setting – Hotel room, 1968 and Surrey, England, 1948.

(The stage is still dark as background music from the last song is heard. The TV and chair are brought out again and PINK enters and sits in it. Door knocking is heard.)

PINK's MANAGER (offstage VO): Time to go! Time to go!

(The lights come on to PINK in his chair. He is unconscious and barely breathing. The background music stops as PINK's MANAGER, the HOTEL MANAGER, and the DOCTOR enter.)

PINK's MANAGER: Fuck me! He's gone completely off the bleedin' twist!

HOTEL MANAGER: My room! This is the most luxurious suite in the whole damn hotel and he's torn it apart!

(PINK's MANAGER walks up to PINK and grabs his shoulders.)

PINK's MANAGER: You vicious bastard! You never liked me, did you?

DOCTOR: He's unconscious. I'll have to take a look at him.

(The DOCTOR moves PINK's MANAGER away and gets on PINK's level as the music starts. The DOCTOR prepares his things and examines PINK.)

DOCTOR:

_Hello?_

_Is there anybody in there?_

_Just nod if you can hear me._

_Is there anyone at home?_

_Come on, now,_

_I hear you're feelin' down,_

_Well, I can ease your pain,_

_And get you on your feet again._

HOTEL MANAGER: The boy's an asthmatic.

PINK's MANAGER: Asthmatic?!

(PINK's MANAGER walks over to the DOCTOR in protest. The DOCTOR disregardes te outburst. He turns to PINK's MANAGER.

DOCTOR

_Relax!_

PINK's MANAGER: No! He's an artist!

(The DOCTOR disregards him and turns back to examine PINK.)

DOCTOR:

_I'll need some information, first,_

_Just the basic facts._

_Can you show me where it hurts?_

(The DOCTOR addresses PINK and the two MANAGERS.)

_There is no pain, you are receding,_

_A distant ship smoke on the horizon,_

_You are only coming through in waves,_

_Your lips move, but I can't hear what you're saying._

(The three freeze in place as PINK begins to sing. Enter KID PINK slowly, holding and petting a dead rat in his arms.)

PINK:

_When I was a child,_

_I had a fever._

_My hands felt just like two balloons,_

_Now I've got that feeling once again,_

_I cannot explain, you would not understand,_

_This is not who I am,_

_I have become comfortably numb._

(Enter WINIFRED as a guitar solo begins. She walks over to KID PINK and he shows her the rat and she scolds him inaudibly, directing him to throw the dead rat away. Exit WINIFRED while KID PINK still holds the rat.)

PINK:

_I have become comfortably numb._

(Exit KID PINK. The DOCTOR pulls out a shot.)

DOCTOR:

_Ok,_

_Just a little pinprick,_

_There'll be no more,_

(The DOCTOR injects the shot into PINK's arm. He is immediately knowledgeable of it.)

PINK:

_Aaaahh!_

DOCTOR:

_But you may feel a little sick._

(Exit HOTEL MANAGER. The DOCTOR and PINK's MANAGER try to help PINK up.)

DOCTOR:

_Can you stand up?_

_I do believe it's working…good._

_That'll keep you going for the show._

PINK's MANAGER:

_Come on, it's time to go._

(PINK is staggering while the others help him walk.)

DOCTOR:

_There is no pain, you are receding,_

_A distant ship smoke on the horizon,_

_You are only coming through in waves,_

_Your lips move, but I can't hear what you're saying._

(The DOCTOR, PINK's MANAGER, and PINK exit as PRE-TEEN PINK enters, petting the dead rat, staring at the audience.)

PINK (offstage VO):

_When I was child, I caught a fleeting glimpse,_

_Out of the corner of my eye,_

_I turned to look but it was gone,_

_I cannot put my finger on it now,_

_The child is grown,_

_The dream is gone,_

(PRE-TEEN PINK dangles the rat by the tail and drops it into the orchestra pit, or if there is not one, exits while still dangling the rat.)

_I have become comfortably numb._

(A guitar solo plays as the lights change different colors and PINK enters again. Enter THE WORMS, who encircle PINK, who is afraid. The four pick PINK up and carry him offstage, and as the song ends, the quickly bring out FASCIST PINK. Black out. The TV and chair are taken offstage.)


	24. The Show Must Go On

**Act II – Scene 7**

**The Show Must Go On**

Setting – Pink's Mind.

(Enter THE WORMS and PINK, who is handcuffed and being forced to walk with them, as the music starts. THE WORMS in some ways are a Beach Boys-esque quartet.)

THE WORMS (in harmony):

_Aaaaah…_

TENOR WORM:

_Ooooooh…._

THE WORMS (in harmony):

_Aaaaah…._

TENOR WORM:

_Ooooooh..._

THE WORMS (in harmony):

_Oooh ma,_

_Oooh pa._

PINK:

_Must the show go on?_

THE WORMS:

_Oooh pa…_

PINK:

_Take me home, take me home, take me home…._

THE WORMS:

_Oooh ma…._

PINK:

_Let me go, let me go, let me go…._

(PINK tries to protest his 'arrest'.)

_There must be some mistake,_

_I didn't mean to let them take away my soul,_

_Am I too old?_

_Is it too late?_

(THE WORMS and PINK walk slowly to exit.)

THE WORMS (in harmony):

_Oooh ma, _

_Oooh pa._

PINK:

_Where has the feeling gone?_

THE WORMS (in harmony):

_Oooh ma,_

_Oooh pa._

PINK:

_Will I remember the songs?_

(Exit PINK and THE WORMS.)

THE WORMS (offstage VO's, in harmony):

_Ooooh, _

_Aaaah,_

_The show must go on!_

(Black out as the last line is sung.)


	25. In the Flesh - Reprise

**Act II – Scene 8**

**In the Flesh – Reprise**

Setting – Pink's Mind.

(As the music starts, the stage lights come on to see THE WORMS onstage, and the platform from the beginning of the show is also near upstage center. A large, red and white roll-down flag is seen, too, with a picture of two hammers crossing each other in the form of an X is seen in the middle. The wall built along upstage is still there. The scene is similar to the first scene of the show, with the audience running down the aisles towards the stage as the descending guitar riff plays. Soldiers in black and red uniforms, who are referred to as hammers and are FASCIST PINK's personal bodyguards and enforcers, march onto the stage as the guitar riff transitions. THE WORMS begin to harmonize with one another as FASCIST PINK enters to greet his hammers, and the crowd. The audience becomes more frantic when they see him,)

THE WORMS (in harmony):

_Aaaaah…. _(repeats six times)

(On the third repeat, FASCIST PINK walks up to his platform and greets the audience with the 'Hammer Salute', in which one crosses their forearms in the form of an X, resembling the 'Hammer Flag'.

FASCIST PINK (with backup from THE WORMS):

_So ya thought ya_

_Might like to go to the show?_

(A loud drum plays between each phrase.)

_To feel the warm thrill of confusion,_

_That 'space cadet' glow?_

_I got some bad news for you sunshine,_

_Pink isn't well, he stayed back at the hotel,_

_And they sent us along as a surrogate band,_

_We're gonna find out where you folks really stand!_

_Are there any queers in the theatre tonight? _

_Get 'em up against the wall._

(A hammer ruthlessly grabs one of the audience members, brings him onstage, and puts him up against the wall.)

THE WORMS:

'_Gainst the wall!_

(As THE WORMS sing 'wall', FASCIST PINK begins to sing.)

FASCIST PINK:

_Now there's one in the spotlight,_

_And he don't look right to me,_

_Get him up against the wall!_

(Another soldier brings another crowd member up to the wall.)

THE WORMS:

'_Gainst the wall!_

FASCIST PINK:

_And that one looks Jewish,_

_And that one's a coon!_

_Who let all this riff-raff into the room?_

_There's one smoking a joint,_

_And another with spots! _

_If I had it my way,_

_I'd have all of you shot!_

(The crowd goes crazy as he sings this, and as the following guitar riff plays, the hammers bring all of the respective crowd members up to the wall. FASCIST PINK again 'Hammer Salutes' the crowd, as the soldiers lead all of the 'audience members' who were brought up to the wall offstage, most likely to be executed. The crowd sees this and applauds even more, and as the music comes to a coda, the crowd transitions into the next song.)

CROWD (chanting loudly): Pink Floyd! Pink Floyd!...


	26. Run Like Hell

**Act II – Scene 9**

**Run Like Hell**

(The staged audience keep chanting when an electric guitar revs up and the music starts. The platform is taken offstage. The soldiers rally around FASCIST PINK.)

SOLDIERS and WORMS:

_Run, run, run, run…. _(line repeats four times)

FASCIST PINK (pacing):

_You better make your face up in your favorite disguise,_

_With your button-down lips and your roller-blind eyes,_

_With your empty smile and your hungry heart,_

_Feel the bile rising from your guilty past,_

_With your nerves in tatters as the cockleshell shatters,_

_And the hammers batter down your door!_

_You better run!_

(When FASCIST PINK ends the last line, the soldiers and WORMS begin to sing their opening line again, with FASCIST PINK joining in. The audience is very ecstatic.)

FASCIST PINK, SOLDIERS, and WORMS:

_Run, run, run, run... _(repeats again four times)

FASCIST PINK:

_You better run all day and run all night,_

_And keep your dirty feelings deep inside,_

_And I you're takin' your girlfriend out tonight,_

_You better park the car well out of sight,_

'_Cos if they catch you in the back seat trying to pick her locks,_

_They're gonna send you back to mother in a cardboard box!_

_You better run!_

(FASCIST PINK 'Hammer salutes' the crowd as the staged audience exits the auditorium. The Hammer flag is taken off as THE WORMS exit.)


	27. Waiting for the Worms

**Act II – Scene 10**

**Waiting for the Worms**

Setting – Pink's Mind.

(FASCIST PINK and his hammers begin to march. One of the soldiers hands FASCIST PINK a megaphone.)

FASCIST PINK: Eins, zwei, drei, alle!

(The music begins.)

THE WORMS and PINK (offstage VO, in harmony):

_Aaaah…._

TENOR WORM

_Ooooh…._

WORMS and PINK:

_You cannot reach me now._

_Aaaah…._

TENOR WORM:

_Ooooh…._

THE WORMS and PINK:

_No matter how you try,_

_Goodbye cruel world, it's over,_

_Walk on by._

PINK (offstage):

_Sitting in a bunker,_

With THE WORMS:

_Here behind my wall._

FASCIST PINK (with backup from THE WORMS):

_Waiting for the worms to come!_

PINK:

_In perfect isolation,_

With THE WORMS:

_Here behind my wall._

FASCIST PINK (with WORMS backup)

_Waiting for the worms to come!_

(FASCIST PINK begins to ramble about random subjects in the megaphone for a short moment.)

SOLDIERS:

_Waiting!_

FASCIST PINK (through megaphone):

_To cut out the deadwood!_

SOLIERS:

_Waiting!_

FASCIST PINK (through megaphone):

_To clean up the city!_

SOKDIERS:

_Waiting!_

FASCIST PINK (through megaphone):

_To follow the worms!_

SOLDIERS:

_Waiting!_

FASCIST PINK (through megaphone):

_To put on a black shirt!_

SOLDIERS:

_Waiting!_

FASCIST PINK (through megaphone):

_To weed out the weaklings!_

SOLDIERS:

_Waiting!_

FASCIST PINK (through megaphone):

_To smash in their windows and kick in their doors!_

SOLDIERS:

_Waiting!_

FASCIST PINK (through megaphone):

_For the final solution to strengthen the strain!_

SOLDIERS:

_Waiting!_

FASCIST PINK (through megaphone):

_To follow the worms!_

SOLDIERS:

_Waiting!_

FASCIST PINK (through megaphone):

_To turn on the showers and fire the ovens!_

SOLDIERS:

_Waiting!_

FASCIST PINK (through megaphone):

_For the queers and the coons and the reds and the Jews!_

SOLDIERS:

_Waiting!_

FASCIST PINK:

_To follow the worms!_

(FASCIST PINK and the soldiers stop marching and freeze in place.)

PINK (with backup from THE WORMS):

_Would you like to see,_

_Britannia rule again, _

_My friend?_

FASCIST PINK (with backup from THE WORMS):

_All you have to do is follow the worms!_

PINK (with backup from THE WORMS):

_Would you like to send,_

_Our colored cousins home again,_

_My friend?_

FASCIST PINK (with backup from THE WORMS):

_All you need to do is follow the worms!_

(An electric guitar riff plays part of the melody from 'Another Brick in the Wall' as FASCIST PINK begins to ramble again in the megaphone and paces. The soldiers face stage right and form into two single file lines, and begin to goose step in time with each other, which leads them offstage. The famous 'March of the Hammers' scene is projected onto the wall. While all this is happening, an offstage crowd begins to chant.)

CROWD (offstage VO, loudly and on beat, repeated several times): HAMMER! HAMMER!

PINK (offstage, loud and long): **STOP!**

(Immediately everything stops. The crowd goes silent, FASCIST PINK stops rambling and exits, and the projection and music are stopped. Black out. Curtains.)


	28. Stop!

**Act II – Scene 11**

**Stop!**

Setting – Concert backstage, New York, 1968.

(Silence. The curtains open to PINK sitting against the wall with a lone spotlight on him. He is looking down at a small black book. He begins to sing poems out of it.)

PINK (quietly, with no music in the background):

_The lunatic is in the hall,_

_The lunatic is in my hall,_

_The paper holds their folded faces to the floor,_

_And every day the paper boy brings more,  
And if the dam breaks open many years too soon,  
And if there is no room upon the hill,  
And if your head explodes with dark forebodings too,  
I'll see you on the dark side of the moon…_

(PINK turns the page.)

Stop…

(A piano begins to play.)

_I wanna go home,_

_Take off this uniform and leave the show,_

_And I'm waiting in this cell, because I have to know,_

_Have I been guilty all this time?_

(The music transitions into the next song as PINK exits and more lights come on.)


	29. The Trial

**Act II – Finale **

**The Trial**

Setting – The depths of Pink's Mind.

(The lights brighten to an empty stage besides a judge's podium situated at upstage center. As the music transitions, THE WORMS brings out a pink, naked, and bald rag doll that represents PINK, and place it to the left of the podium against the wall in a seated position, and exit. THE JUDGE, a large, grotesque man representing the British court system walk up behind the podium. The jury, who wear dark clothing and surreal and horrifying masks, walk slowly and quietly down the aisles. JONATHAN is in aa part of the jury,, but instead wears his normal uniform. Finally, THE PROSECUTOR, another grotesque man who symbolizes the British court system, enters. Before he addresses THE JUDGE and the crowd, THE JUDGE strikes his mallet onto the podium, signifying the beginning of PINK's "trial".)

THE PROSECUTOR:

_Good morning, Worm, your honor,_

_The crown will plainly show the prisoner,_

_Who now stands before you, _

_Was caught red handed showing feelings!_

_Showing feeling of an almost human nature._

_This will not do!_

THE JUDGE: Call the Schoolmaster!

(WALL-EDWARD, a lanky marionette, is suspended in front of the wall to the right of the podium. He is voiced with a high and screeching Irish accent by someone offstage.)

WALL-EDWARD (offstage VO)

_I always said he'd come to no good!_

_In the end, your Honor,_

_If they'd let me have my way,_

_I could've flayed him into shape,_

_But my hands were tied,_

_The bleeding hearts and artists,_

_Let him get away with murder,_

_Let me hammer him today!_

(THE JUDGE nods his head in disapproval as WALL-EDWARD is brought back up behind the wall.)

PINK (offstage):

_Crazy, toys in the attic,_

_I am crazy, truly gone fishing._

_They must've taken my marbles away!_

JURY:

_Crazy, toys in the attic,_

_He is crazy._

THE JUDGE: Call the defendant's wife!

(Enter WALL-GWENOWLYN, a woman with wild red hair, a green outfit, and a scorpion's tail attached to her, who harasses the PINK rag doll.)

WALL-GWENDOLYN:

_You little shit you're in it now,_

_I hope they throw away the key,_

_You should've talked to me,_

_More often than you did, but no!_

(She picks up the doll and carries it over her shoulder as she walks over to THE JUDGE.)

_You had to go your own way,_

_Have you broken any homes up lately?_

(She leans over to THE JUDGE.)

_Just five minutes, Worm, your honor,_

_Him and me alone!_

(THE JUDGE doesn't approve, and WALL-GWENDOLLYN throws the doll up against the wall in a rage and exits.)

THE JUDGE: Call the defendant's mother!

(Enter WALL-WINIFRED, a stereotypical-looking English mother that represents PINK's mother.)

WALL-WINIFRED:

_Baaaaaaaabe!_

_Come to momma baby._

_Let me hold you in my arms!_

(She addresses THE JUDGE and begs at his feet.)

_M'lud I never wanted him to,_

_Get in any trouble,_

_Why'd he ever have to leave me?_

_Worm, your honor,_

_Let me take him home!_

(THE JUDGE again disapproves, and points towards the exit stressfully. WALL-WINIFRED exits sadly.)

PINK:

_Crazy, over the rainbow,_

_I am crazy, bars in the window,_

_There must have been a door there in the wall,_

_When I came in!_

JURY:

_Crazy, over the rainbow, _

_He is crazy._

(THE JUDGE walk out to the front of his podium, picks up and places the PINK doll in front of him, and addresses 'it'. The podium is taken offstage by someone from backstage. As TH JUDGE begins to sing, the jury begins to dance around maniacally in the aisles, besides JONATHAN. The melody from 'Another Brick in the Wall' is played on an electric guitar.)

THE JUDGE (in a monstrous rage):

_The evidence before the court is incontrovertible,_

_There's no need for the jury to retire!_

(The jury stops dancing.)

_In all my years of judging,_

_I have never heard before,_

_Of someone more deserving, _

_Of the full penalty of law!_

_The way you made them suffer,_

_Your exquisite wife and mother, _

_Fills me with the urge to defecate!_

(THE JUDGE bends down as if he were defecating, and stands back up.)

JONATHAN: Go on, Judge, shit on him!

THE JUDGE:

_Since!_

(He kicks the doll.)

_My friend, you have revealed your deepest fear,_

_I sentence you to be exposed before your peers!_

(He picks up the doll.)

_**TEAR DOWN THE FUCKING WALL!**_

(The jury then chants in time as THE JUDGE exits with the doll. The jury urge the audience to join in.)

JURY (repeats several times): Tear down the wall! Tear down the wall! Tear down the wall!

(The wall is destroyed by the backstage crew as sounds of explosions and destructions of buildings are heard. PINK is laying against the backstage wall amongst the rubble with his guitar at his side. The jury stay in the aisles and the sounds of destruction transfers to the next and final song.)


	30. Outside the Wall and Bows

**Epilogue/Bows**

**Outside the Wall/In the Flesh! (Reprise 2)**

Setting – Backstage and Concert, 1968.

(The sounds of destruction go quiet as a lone clarinet and accordion are heard. The jury take off their ugly masks and begin to sing the melody while PINK sing/talks the same lyrics with them.)

PINK and JURY (PINK sing/talks lyrics):  
_All alone,_

_Or in twos,_

_The ones who really love you,_

_Walk hand in hand outside the wall._

_Some hand in hand,_

_And some gather together in bands,_

_The bleeding hearts and artists,_

_Make their stand,_

_And when they've given you their all,_

_Some stagger and fall,_

_After all, it's not easy,_

_Banging your heart against some mad bugger's wall._

(The opening of the song plays again as the jury come up onstage and PINK stands up, guitar in hand, in defiance of the wall he now stands upon.)

PINK: Isn't this where…we came in?

(As the last three words are said, the songs opening is played once more as the jury bow and take their leave. The opening of 'In the Flesh?' is heard, and as the guitar riffs play, the different chorus members take their bows. When THE WORMS take theirs, they harmonize on an 'Ah'. They harmonize until PINK comes up to center stage and plays his guitar.)

PINK (with backup from THE WORMS):

_So ya thought ya,_

_Might like to go to the show?_

_To feel the warm thrill of confusion,_

_That space cadet glow?_

_Tell me is something eluding you sunshine?_

_Is this not what you expected to see?_

_If you wanna find out what's behind these cold eyes,_

_You'll just have to claw your way through this disguise!_

(As PINK plays the next riff on his guitar as the other company bow together behind him.)

LIGHTS!

(Pink Floyd style light show)

TURN ON THE SOUND EFFECTS!

(Movie-quality sound effects are heard.)

ACTION!

(The rest of the company exit.)

DROP IT! DROP IT ON 'EM! DROP IT ON THEM!

(Airplane sounds are heard, as if one is heading towards the stage. PINK slowly raises his arms as a drum roll begins, signifying a bomb. He takes his bow, and exits as the song ends. Curtain. End of show.)


End file.
